From Octavia Butler's Lilith's Brood, which I'm reading rn and it is amazing:
"
Tate Marah had just quit another job. She had some genetic problem that the Oankali had controlled, but not cured. But her real problem seemed to be that she did things so well that she quickly became bored. Or she did them so badly that she abandoned them before anyone noticed her incompetence. People had to see her as a formidable presence, bright, dominant, well off.
Her family had had money—had owned a very successful real estate business. Part of her problem, the Oankali believed, was that she did not have to do anything. She had great energy, but needed some external pressure, some challenge to force her to focus it.How about the preservation of the human species?
She had attempted suicide twice before the war. After the war, she fought to live. She had been alone, vacationing in Rio de Janeiro when war came. It had not been a good time to be a North American, she felt, but she had survived and managed to help others. She had that in common with Curt Loehr.
Under Oankali interrogation, she had engaged in verbal fencing and gameplaying that eventually exasperated the ooloi questioner. But in the end, the ooloi had admired her. It thought she was more like an ooloi than like a female. She was good at manipulating people—could do it in ways they did not seem to mind. That had bored her too in the past. But boredom had not driven her to do harm to anyone except herself. There had been times when she with-drew from people to protect them from the possible consequences of her own frustration. She had withdrawn from several men this way, occasionally pairing them off with female friends. Couples she brought together tended to marry.
Lilith put Tate Marah’s dossier down slowly, left it by itself on the bed. The only other one that was by itself was Joseph Shing’s. Tate’s dossier fell open, once again displaying the woman’s small, pale, deceptively childlike face. The face was smiling slightly, not as though posing for a picture, but as though sizing up the photographer. In fact, Tate had not known the picture was being made. And the pictures were not photographs. They were paintings, impressions of the inner person as well as the outer physical reality. Each contained print memories of their subjects. Oankali interrogators had painted these pictures with sensory tentacles or sensory arms, using deliberately produced bodily fluids. Lilith knew this, but the pictures looked like, even felt like photos. They had been done on some kind of plastic, not on paper. The pictures looked alive enough to speak. In each one, there was nothing except the head and shoulders of the subject against a gray background. None of them had that blank, wanted-poster look that snapshots could have produced.These pictures had a lot to say even to non-Oankali observers about who their subjects were—or who the Oankali thought they were. Tate Marah, they thought, was bright, somewhat flexible, and not dangerous except perhaps to the ego."